Scenes I Love: Banshee


The Hood vs. Damien Sanchez fight in Season 1, Episode 3 is the moment Banshee stops teasing its brutality and just commits to it—and that’s why it sells you on the series. It isn’t stylized, choreographed “hero wins clean” violence; it’s ugly, exhausting, and morally messy, exactly the kind of sequence that tells you this show won’t flinch. Once Hood (played by Antony Starr who will later portray Homelander in the show The Boys) walks into that casino floor and picks a fight with a professional MMA fighter, the series effectively says: “This is what we are. If you’re still here after this, you’re one of us.”

What makes the scene so gripping is how it reframes both characters through pure physical storytelling. Sanchez starts off dismissive, treating Hood like a joke, and for a good chunk of the fight he is outclassed—technically superior, faster, and more precise. But Hood’s violence isn’t about skill; it’s about will, rage, and a complete disregard for his own body. The moment he shifts from “trying to win a fight” to “I will break you even if I break myself” is the thesis of the whole show: in Banshee, power doesn’t come from being the better fighter, it comes from being the one most willing to go too far. That raw, pragmatic brutality—elbows, smashes, no rules—feels shockingly real compared to typical TV brawls, and it cements Hood as a man whose moral code is written in concussions and blood.

This is also the scene that locks in the show’s tone for the long haul. It’s not just “violent”; it’s specifically consequential violence. Hood walks away badly hurt, Sanchez’s career is effectively over, and the repercussions ripple into Hood’s relationship with Kai Proctor and the wider power structure of the town. For you as a viewer, that’s the hook: the series proves it will follow its own logic to brutal ends, and that the stakes aren’t just emotional but physical and permanent. Once you’ve seen Hood willingly turn himself into a weapon against a trained professional fighter and pay the price, you know Banshee won’t pull punches later—so if you loved this scene, you were already braced for everything the rest of the series throws at you.

Music Video of the Day: Europa and the Pirate Twins by Thomas Dolby (1981, directed by Thomas Dolby and Simon Maggs)


The lyrics to this Thomas Dolby song seem to be self-explanatory.  When they were teenagers, the narrator met a girl named Europa, they fell in love while spending their days walking along the beach, and then Europa moved away.  (Dolby sings that “the war” took her away, which sounds ominous but which makes sense when you consider that Dolby’s 1982 album, The Golden Age of Wireless, was based on the idea of him being a part of the first generation since World War II.  “The war took her away” is probably meant to be a comment on how relationships that were once ended by a world war were now just being ended by a parent getting a new job in a new country or town.)  Years later, Europa’s a star and Dolby tries to see her, just to be ushered away by one of her bodyguards.  But, in Dolby’s heart, they’ll always be pirate twins on the beach.

The video has come to be considered a classic example of early 80s music videos, mixing the future and the past and allowing Dolby to capitalize on his nerdy but cool persona. The machines link the song to the future but the black-and-white images bring us to the past, capturing the feel of Dolby’s song.

Enjoy!